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Quentin quarantino afghanistan azi3/5/2023 ![]() ![]() Cecile De France, The Kid With a Bike, 2011ġ. Dwight Henry, Beasts of the Southern Wild, 2012 5. Tom Hiddleston, The Deep Blue Sea, 2011 4. Quvenzhane Wallis, Beasts of the Southern Wild, 2012 5. Scott Speedman, Citizen Gangster, 2011 4. Central Park Five, Ken Burns, Sarah Burns, David McMahon, 2012ġ. The Beasts of the Southern Wild, Benh Zeitlin, 2012 10. The Deep Blue Sea, Terence Davies, 2011 9. The Queen of Versailles, Lauren Greenfield, 2012 8. Citizen Gangster, Nathan Morlando, 2011 5. The Law in These Parts, Ra'anan Alexandrowicz, 2011 4. The best films that played in movie theaters in the US in 2012:ġ. This social, moral and artistic gulf can only widen as the global situation heats up. This milieu, a wing of the American establishment (and the same social element exists everywhere), is hostile to the revolutionary traditions in the US, to the population itself (which it ceaselessly calumnies as racist and backward) and to any “grand narrative” based on reason and a concern for historical realities and laws. Some of the comments verge on the unhinged. The “left” critics have made clear their preference for race, blood, irrationalism and mythology with almost a single voice. We will write more about this when we review Django Unchained in the near future. The response to Tarantino’s latest toxic and artless, witless effort has been even more enthusiastic. That the New York Film Critics Circle bestowed its best picture and best director awards on Bigelow and her filthy film, which glorifies torture, assassination and the CIA, tells us nearly as much as we need to know. Much of this layer decisively prefers either Kathryn Bigelow’s Zero Dark Thirty or Quentin Tarantino’s Django Unchained, or both. The Spielberg-Tony Kushner film, however, has been received for the most part by the liberal-left and what passes for “radical” press with either sullen indifference or outright hostility. The Civil War was the second American Revolution, and features of the present situation, in an extremely contradictory fashion, are calling up its specter. There is an understanding, half-intuitive, that this is important subject matter and, moreover, that this monumental history belongs to those watching it. To coin a phrase, one can hear a pin drop. Audience members, the anecdotal evidence suggests, generally watch the film’s drama unfold with rapt attention. Some fifteen million people in the US have seen Lincoln, which is not of course a flawless work. In the final analysis, the timing is not fortuitous. Steven Spielberg’s Lincoln is the first significant film about that major American figure since 1939-40. The polarization in contemporary filmmaking and in the reactions to it has found specific expression in the US in recent months. Such people have loftier concerns: their own personal relationships, neuroses and unhealthy fantasies.īy contrast, works such as Asghar Farhadi’s A Separation, Mahdi Fleifel’s A World Not Ours, Ra'anan Alexandrowicz The Law in These Parts and Far From Afghanistan (for all its unevenness), directed by John Gianvito and others, represent something different and opposed, an honest attempt to look at the world and assist an audience in orienting itself. ![]() War, poverty, social disaster-all of this barely registers. A self-involved, self-satisfied, upper middle class layer dominates the cinema world that remains largely oblivious to events going on in front of its nose. ![]() Several dozen films fell into the general category of the thoughtful and socially critical.”įilmmaking on the whole continues to be far behind global events and human conditions. And, while there were disappointments and obvious failures, the level of seriousness and honesty seemed to us higher than at any such event in memory. We succeeded in viewing nearly 50 of those. “On the other hand, an initial list of films that seemed worth seeing in Toronto included more than 80 titles, an unprecedented number. The summer and this fall so far have been especially miserable. On the one hand, the major productions of the American film studios, which dominate the world market, are more and more negligible, often painfully so. As we noted in September, in our coverage of this year’s Toronto international film festival, “This year’s festival and the general state of the film world present a sharper contradiction than ever. ![]()
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